Foot Fist Way

Saturday, May 18, 2019

Last time I talked about the knifehand guarding block and the theory that originally
it was the chambers of basic techniques that were the blocks. To show
another example of this, let's look at the ITF/Ch'ang Hon low block
chamber.

In Choi's 1959 book Tae Kwon Do Teaching Manual, the Shotokan karate low block chamber is used. But by 1965, the chamber had changed to the wrist-to-wrist position. Many ITF basic techniques -- including the rising block, backfist, and knifehand strike -- utilize this chamber.

In this chamber, the blocking tool sets up inside the pulling tool, with the fists oriented such that the back of the wrists can touch each other.

ITF Low block

The traditional use of this chamber is brush-grab-strike. Meaning:

You do an initial parry against a linear attack with your front hand.

You do a secondary parry with your back hand (parry-pass) and grab. This forms the chamber.

Pull in the opponent's arm to your hip while you use your front hand as a strike.

For the ITF low block, the "strike" is a hammerfist to the groin. This may be done from inside or outside the opponent's arm (depending on whether you parry the attack outward or inward), although for the low block is it safer to perform from outside since you leave your head exposed.

What about if you parry the arm outward? From here a different strike, such as the backfist or knifehand to the neck, is preferable. ITF uses the same chamber for these two techniques.

In this 1956 taekwondo demonstration, we see both the chamber and pulling hand utilized. Source: hapkist

Other Applications

The chamber could also be used as a flinch block against a swinging attack. Since the pulling hand is on the outside, it can catch the opponent's arm and pull as your strike. This application is similar to the above gif where a punch is deflected outward.

The ITF rising block also uses this chamber. For two consecutive rising blocks, the chamber may be used to create a rudimentary figure-four lock. The application goes like this:

Use the first rising block to block an attack or raise the opponent's arm

Stepping forward, thread your other arm over the opponent's elbow as you grab their forearm with the blocking arm. This creates the chamber

Circle behind the opponent and pull down their forearm (pulling hand) while lifting their elbow (second rising block), creating the lock.

Saturday, May 4, 2019

Many schools, I've noticed, practice a variant of the guarding block chamber. Some shoot both arms straight back before moving them forward. Others begin with their hands down near their hips.

The original way to perform the guarding block, as shown in General Choi's books, is to begin with the back hand high, near the ear, and the the front hand at blocking level, such that it moves in a horizontal line when executing the block.

Guarding block from Taekwon-Do: The Art of Self-Defense (1965) and The Encyclopedia of Taekwon-Do 2nd Ed (1987)

Why bring up this minor point? Because originally it was the chambers that were the "blocks", not the motions we today call blocks. The reason the back hand sets up near your ear is to defend against a haymaker. After this, you overhook the opponent's arm (back hand downward motion) and push out on their neck (front hand horizontal motion), preventing them from throwing another strike.

(1) This is a defensive technique, not a "strike". Although pressing on the side of the opponent's neck is uncomfortable, the purpose is to control the opponent until the situation de-escalates. If it does not, then there are several follow-ups from this position.

(2) The motion of the back hand is an overhook, not a pull. The purpose is to hold the opponent's arm in close to your chest to prevent them from attacking you further.

(3) Notice that when the application is executed, you are 90-degrees from your opponent. Hence while the chamber seems to be performed to your side, in reality it is performed in the direction of the haymaker.

Two other applications

The downward motion of the back hand has other uses. Another common application is an underhook, performed by making the movement more circular. You may simultaneously use the front knifehand to push the opponent's head forward. If you manage to place the opponent's forearm onto your shoulder, you can lock their elbow, creating what's call a standing ude gatame in Judo.

Like the overhook, there are several follow-ups from this position; Iain Abernethy shows a few in the linked video. The circular performance of the guarding block is also found in Choi's books, and in some karate styles such as Kyokushin.

The circular guarding block performance, from the Encyclopedia of Taekwon-Do Vol 3

The third application is a head crank, performed by bringing the two hands closer together. Working together, the movement of the two palms becomes a head twisting motion. The back hand begins high and then twists low, throwing the opponent by cranking their head.

Another example by application researcher Richard Conceicao is here. This works well for the 180-degree turn into the guarding block in move 3 of Choong-Moo. In fact, all three of these applications are scattered throughout the Ch'ang Hon forms. Try looking for one the next time you spot a guarding block.

Saturday, April 27, 2019

Both Koryo (KTA) and Choong-Jang (ITF) make changes to this technique. Koryo's version is in riding stance and sets up the punch with a knifehand block. Choong-Jang's version is in back stance and changes the setup movement into a backhand downward strike.

Both versions are commonly interpreted as grabbing the back of the opponent's head and punching their face. The trouble with this is the risk of punching their forehead, breaking your fingers. Traditional forms usually aim punches at the rib or solar plexus level, and reserve the head for other strikes (backfist, knifehand, etc).

Knifehand blocks may be used to push out the face or neck. If you push out on the side of the opponent's face with the knifehand block in Koryo, this exposes the side of their head, a target safer to punch.

But what of Choong-Jang? Here we perform the downward strike with a stomp. This bizarre motion, to my knowledge, only appears in Choong-Jang.

Stomping motions can be used as knee strikes or as attacks to the opponent's leg, so it may be that the stomp is the primary attack, and the downward "strike" is just setting up the target punch. Stomping into a back stance is ineffective because the weight stays on our back leg, so I favor the knee strike interpretation.

However, we can also throw in a grappling application for the downward strike, since I don't think it works particularly well as a "strike". If you reach around the opponent's face and grab their jaw, you may use the circular motion as a head crank, setting them up for a strike to their neck.

Monday, April 22, 2019

Here is an application for the 180-degree turn into
the front stance inner-forearm wedging block (aka opening block) after
the first "knee break".

I don't interpret the latter as
an actual knee break. It's true that this technique appears in older
karate manuals, but the breaking palm should be in front so as to apply
more pressure. See the technique shown by Kenwa Mabuni below.

Kenwa Mabuni's knee break from Karate Do Nyumon (1938)

But in Koryo the downward palm comes from the back hand. I believe this variation works better as an irimi nage
(entering throw) technique. The front palm pushes in the small of the
opponent's back while you throw the opponent's head to the floor.
Perform after using the preceding front kick as a kick to the groin.

This throw may fail if the opponent steps backwards
to maintain their balance. Since you are pushing in their left side with
your right palm, they will have to step back with their right leg.

Grab
their left leg with both fists. Then step through and turn while
pulling up the leg with the inner-forearm wedging block, tripping the
opponent over your rear (left) leg. This is shown in the gif below.

Monday, April 8, 2019

Even though I am ITF-trained, I'm rather fond of the KTA poomsae Koryo and have been studying applications for it recently. The most baffling part is the back leg double side kick performed early in the form. Koryo's ready position and opening guarding block have a simple application that is, I think, fairly well known. It comes from the karate kata Kushanku. After using the ready position as a guard to defend against any kind of swinging attack (haymaker, front bear hug, headlock), overhook the opponent's arm while striking the side of their neck.

This is an old, perhaps the original, application for the guarding block. It appears not only in traditional martial arts but modern self defense systems. A live demonstration by Tony Blauer (as part of his S.P.E.A.R. system) is shown below.

It can be used against a haymaker, front bear hug, or tackle. By pushing out on the opponent's neck you prevent them from striking or hugging you effectively. You can also throw in some quick hand strikes or knees from this position. In some ITF forms, a front leg front kick is used.

What you cannot do is the double side kick. There's no way to realistically apply it from this close a range, and why use it over simpler hand strikes? However, I don't think the two kicks are meant to be used from this defensive position, but rather as your opponent escapes from this position.

Applying pressure to the side of the neck is uncomfortable and once the opponent realizes they can't take you down, they may dive away from your knifehand.

(1) Since you have an overhook, you have tactile information that their arm is slipping. (2) Lock their arm with both hands as you turn 180-degrees stepping forward. (3) Perform the low side kick to the side/back of their knee. This will cause them to collapse onto that knee, lowering their head. (4) Perform the second side kick to the back of their head. Pull the arm back while kicking for greater damage.

I have one more application from Koryo that I will discuss in my next post.

Saturday, April 6, 2019

Here is another application for the supported elbow strike followed by the low target hammerfist in Koryo.

Assume the opponent grabs your lapel. Use the downward palm to cover and grab their knifehand. Twist their wrist as you bring your elbow over their elbow, creating a Z-lock (aka S-lock or nikkyo). Pushing their wrist towards them will force them downwards.

The Z-lock works by preventing the opponent's elbow from rising as you push their wrist towards them. Since it can't rise, the lock forces them downwards. Step in close and follow with the low target hammerfist to the head.

I used to think that slow motion movements were grappling techniques, but often I see the opposite in forms: normal motion movements can be grappling while slow motion movements can be strikes. Slow motion movements may either be for aesthetics or to indicate that something non-obvious is going on.

Saturday, October 27, 2018

Intended Meaning

To summarize part 1, the sets in taekwondo forms are a mix of self-defense ideas taken from early 20th century Judo, karate manuals, and the creators' own ideas. This means that each set has an intended meaning behind it; and forms are not ambiguous collections of movements meant to be interpreted as the student desires. This is not to say you cannot apply sets in other ways -- instructors can and do -- but the forms still have intentional meaning.

A good application fits three criteria:

1) Expository Value: Does the application explain the movements in the form? What about footwork, stance, the secondary hand, or special instructions?

2) Practicality: Would this application work in a live context against a realistic attack? Does it adequately protect the user?

3) Continuity: How does this application fit in with the rest of the form?

Because of this criteria, the number of feasible applications is quite small. It's true that an individual movement, such as the low block, has many uses, but once you put that movement in a greater context its possible meanings shrink.

An unlikely application for the "mountain pushing posture" in
Cheonkwon. A literal push does not explain the cat stance. A
front stance would serve this application better.

This also means that we should not have to add footwork, change stances, change open-handed movements to grabs, etc. to make an application practical. We should trust that the creators of the forms made them the way they are for a reason. This is also why it's important to study the official versions of the forms, as they tend to pick up changes as they get passed from school to school.

A much better application that has the bonus of explaining the
"single mountain block" appearing beforehand. The cat
stance is used as a trip. Turning around, as done in the form,
will drop the opponent onto their head. Thus this application
explains more of the form. Source: TomHillsVision

Rather than find multiple applications for a given set in a form, it is more useful to find that set's intended application and then that technique's applicability. Suppose you agree that the twin upward palms in Choong-Moo encodes a double leg takedown. Rather than try to explain how the motion could also be a double elbow lock, or a release manuever, it's more useful to train the double leg with a partner, discover new entries to the technique, how to counter it, what to do if it fails, etc.

----

For the record, I am not saying that I know what all the original applications are, that interpreting forms is easy, or that you cannot use alternate interpretations. What I am saying is that if we look for the historical meaning, then there is ultimately one correct interpretation.[1]

Changes to the ITF forms

Studying older versions of the forms can be useful in determining their meaning. The original 20 ITF forms underwent minor revisions between Choi's 1965 book and his 1983 Encyclopedia. Are the updated forms better or should we use the original versions?

Most of the changes do seem to have a purpose. The X-fist pressing block in Sam-Il was originally performed turning 90-degrees to the right; in the modern version you turn only 45-degrees. It's hard to believe this change was made for aesthetic reasons, but when you know the application then the change makes sense. The twin block set in Hwa-Rang was changed to take advantage of the new cross-arm setup. Tong-Il underwent significant revision between 1965 and 1983, seemingly to make it more challenging, but the 1983 version is nonetheless logical in design. To me, the revisions are evidence for rather than against the existence of applications.

The original (left) vs the modern
(right) bending ready stance A

However, some of the changes are a side effect of changes in hand techniques. The first five forms presented in Choi's 1959 book use the Shotokan karate low block setup. By the time the original 20 forms were finished in 1965, the wrist-to-wrist setup was being used. Between 1965 and 1983, the bending ready stance was changed. Originally one would bring both fists to the opposite hip -- as in karate and KTA taekwondo -- but this was changed such that both arms extend outward. While these changes do have applications (e.g. the wrist-to-wrist setup is brush-grab-strike), [2] application researchers should keep in mind what the original versions of the forms were.

Striking While Grappling

Reading
through these two posts, you might be getting the impression that forms
are mostly grappling techniques, but that isn't quite right. The dichotomy between
grappling arts and striking arts is a modern one. Most historic arts
taught both striking and grappling before they became specialized over
time. Even Western boxing used to allow limited grappling.

The
folks at Karate Culture have described karate as the art of "striking
while being grappled", and we can say the same about taekwondo forms.
Punches are still punches even if we pull the opponent with the other
hand. Backfists, hammerfists, knifehands, elbows, knees, kicks, and throat strikes are
found throughout the forms. Even the basic blocks may at times be used
as strikes: the low block becomes a hammerfist to the groin; the
inner-forearm block, a rolling backfist to the face. General Choi stated
that of the three self-defense options against a grab -- striking,
releasing, and joint breaks -- striking was the fastest and most likely
to work. Hwa-Rang and Choong-Moo, despite the Judo influence, both begin with a prosaic block followed by a strike.

But
because you are likely to be grabbed in a self-defense scenario, it is
important to actually know how to grapple. Most sets in forms end in
takedowns; sets that do not usually end in striking the vagus nerve or
back of the head. Locks, while present in forms, are rarely to submit an
opponent. They are instead used to break a joint or to position an opponent for either a
takedown or a knockout strike.

Interpreting Forms

This post assume the reader has the basics down: that "blocks" are not always blocks, that you face only one opponent, and that as a rule both hands are utilized. Therefore, I wish to cover some non-literal instructions in forms that students should be aware of.

Slow motionmovements denote special grappling maneuvers or high-resistance applications. The slow motion twin elbow thrust in Po-Eun is lifting your opponent off the ground, for example. However, there are plenty of normal-motion movements that represent grappling and some slow motion movements that may be applied as strikes, so do not feel constrained by this rule. [3]

Although stomping is sometimes used to attack the leg, more often it represents lifting your leg for a knee strike, rapidly dropping your weight, or both. A downward elbow strike is an overlooked application for the mountain block/W-block.

One-legged stances often represent sweeps. Right images are
from the Encyclopedia of Taekwon-Do.

Stances can have special uses. Front foot X-stancesare typically used to trap the instep. Rear foot x-stancescan represent leaning onto your opponent. Cat stances are often trips. One-legged stances can be knee strikes or sweeps. Even the front stance may be used to destabilize an opponent by pressing your front knee into their leg.

Jumps have varying purposes. The 360-degree jump in Choong-Moo represents lifting an opponent from a squatting position, and hence is not literal. But in other forms an upward jump may be used to complete a joint break or to get at the top of the opponent's head.

Finally, kicks in forms are usually aimed at the legs, even "middle" and "high" kicks. A low kick indicates that the opponent's leg is very close to you.

Ready Positions

Several forms have a special ready position. With the possible exception of Juche, these ready positions always have an application, but not always at the start of the form! The intended meaning is just as likely to be at the end of the form instead.

If the opponent is too far away to sweep, place their leg onto
your shoulder and push down on their knee with both
palms to throw. Source: EffectiveMartialArts

One example of this is in Cheonkwon. Suppose you cannot apply the mountain pushing posture as a trip and face push because the opponent backs away from you. If the opponent does this, then they have straightened their leg. We can hoist their ankle onto our shoulder and push down their knee with both palms, taking them to the floor. Because this is meant to be used if the previous application fails, it is an example of a chain sequence.

In contrast, I struggle to find a use of the overlapping hands at the start of Cheonkwon. I do not believe there is one.

An example from the ITF forms is the covered fist at the end of Won-Hyo. This may be utilized as a gooseneck wrist lock, another technique that appears in General Choi's books.

Ready positions occasionally appear in the middle of forms, such as in Ul-Ji and Taeguek 7, further supporting that they have applications.

Theme

Sometimes the applications in a form are built around a theme. In Hwa-Rang we control the opponent's arms. In Choong-Moo we attack the base. In Ul-Ji we attack the head. The nine (or ten) KTA black belt poomsae have thematic elements as well. Koryo relies on hard and fast striking. Keumgang emphasizes stability. Taebaek is based on the Heian kata. Themes are never universal, however, and I doubt that every form has one. While knowing the theme can be useful for discovering applications, it is easy to guess the theme wrong. The internal logic of the form is more important.

The Structure of Forms

Finally we reach the climax. Just what is the internal logic of a particular form?

Keep in mind that not all forms are designed using the same
rules. This is especially true if you study a style which uses forms
from many different creators and time periods, such as karate. The
scheme I describe below just happens to work for many ITF forms, and
has proven useful for analyzing the KTA black belt poomsae as well. In engineering we have a maxim that "all models are wrong, some are useful." I cannot say with 100% certainty that the below models of Hwa-Rang and Choong-Moo are true, but they have proven useful for analyzing both of the forms.

The general rule is this: in a taekwondo form, you only ever defend against one de novo attack from one opponent, at the start of the form. Every other set in the form is an alternative follow-up or a chain sequence. This means that you have the same opponent throughout the entire form. Chain sequences are to be used if the opponent counters you in some way, and thus the application depends on how exactly they counter you.

Hwa-Rang, in my view, is mostly alternative follow-ups. Suppose at the start of the form we parry an opponent's right hand punch, and then counter with our own right hand punch. If the opponent parries our punch, then we have several options, the first of which is following up with a left hand punch (step 3). In other words, almost every set in Hwa-Rang begins with the opponent parrying your right hand. An example of a pure alternative follow-up design, for a form with 10 sets, is shown below.

What is the benefit of such a scheme? Primarily this is just a way to organize and transmit ideas. However, by learning only one defense against a particular attack, you do not have the crippling problem of
choice. You use the defense and then if it works, great, if it doesn't,
then we have to ask questions. After the first set in Hwa-Rang there are multiple variables: Are you
punching with your front hand or back hand? How close are you to your
opponent? Did you succeed in grabbing and pulling the opponent's right
arm? Did the opponent grab your arm? Each scenario provides different
options.

On the other end of the spectrum is a chain sequence, which better describes Choong-Moo. We assume the initial technique fails, and so we follow with a second one. Then if that fails we follow with a third technique, and so on. This process can continue through an entire form.

Notice that I still added a couple branch points in this chain sequence. This is because a technique often can fail in multiple ways, so occasionally the form will provide more than one follow-up. These make the form difficult to interpret, but provide meaningful information about how your opponent may counter your technique. The key again is to ask questions about how a defense might fail.

Most forms have a mix of the two structures, with the chains only going a few levels deep.

In all three example cases, the form is designed to help you survive a single encounter, not multiple encounters with separate opponents. This is what is really meant when we say forms simulate a fight. A good form predicts the opponent's most likely response(s) and tells you how to deal with that.

Examples of the starting attack include a haymaker, a straight punch, a lapel grab, a rear bear hug, a tackle, a football kick, or a shove. These attacks fall under "Habitual Acts of Violence", attacks you are likely to encounter in a self-defense scenario. The opponent may throw additional attacks as a counter to your techniques, but under this guideline you will never be attacked by a new opponent.

I suspect not all forms are built this way. Po-Eun might be an exception. But this is a good starting point for analyzing forms.

Conclusion

I believe the old method of keeping form applications secret is out of date. We live in the age of the internet where fighting knowledge is at one's fingertips. What's more, we do students a disservice when we teach them impractical applications for their forms. ITF taekwondo in particular bills itself as a self-defense art. So why not study the forms a little deeper? And if you want to study taekwondo as it was historically developed, isn't it worth studying the whole art, locks and throws included?

Addendum

I received some comments about using the palm pushing block against a punch. This is one of two applications shown in volume 10 pages 141-3 of the Encyclopedia of Taekwon-Do. The other application is against a side kick, which is not an attack I expect to face in a self-defense situation.

Hwa-Rang application from Vol 10 of the Encyclopedia

The idea is that an untrained fighter is likely to over-commit to a punch, so you side-step the attack and push their upper arm or shoulder. If they do not over-commit then the push becomes merely a parry. Of course, no one throws a karate-style punch in reality, nor do they stand still waiting for you to punch. I would modify the above application such that the opponent is facing your front, and that you grab and pull the opponent's arm.

Another comment was that the ITF forms are not meant to be fighting templates. Who said this? Not General Choi. In his 1965 book he writes.

The
"pattern" is thus a set sequence of movement of attack and defence in a
logical order. Imaginary opponents are dealt with in sequence logically
and systematically under the assumption of various situations

Other early taekwondo pioneers said similar. In Tan-Gun and To-San Jhoon-Rhee wrote

A
student’s sparring or fighting style becomes his adaptation of the
principles he has acquired from hyungs. The hyungs, then, are the
student’s line between Tae Kwon Do training and actual fighting

Jhoon-Rhee also stresses the logical nature of the form. Taekwondo pioneers were clear that forms were meant to convey fighting principles. This is not to say that performing forms makes you a good fighter, but the entire point of forms is to record and transmit ideas which you may use in a fight.

Another comment was that forms are only for practicing movements. But you don't need a form to do that. We already do that in basics. My view is that in basics we practice movements with multiple possible applications, but in forms we see examples of how those movements may be used.

[2] Some assert that the only purpose of a bending ready stance is to set up a side kick. The
problem with this logic is that not all side kicks are set up with the stance,
and in Gae-Baek the stance is used without being followed by a kick. I read one taekwondoin state that the purpose of the
stance was to "look intimidating". Needless to say, I disagree.

[3] A universal rule for slow motion movements has proved elusive. Another explanation I have read is that there is a detail besides power and speed needed to make the application work. But this too does not appear to be a universal rule.